“When Harry Met Sally…” soundtrack gives life to the Boston fall experience
Harry Connick Jr. assembled a soundtrack that has the sensation of love, the shape of magic — and that reminds me of Boston in the fall.
Fall is finally here! The weather is at its coolest and Boston is at its most beautiful, which means folks are spending more time outside — walking, jogging and biking to soak in the season.
To illuminate this remarkable time of year, there’s only one entire collection of sounds appropriate for a sweet autumn stroll down Newbury Street: Harry Connick Jr.’s sentimental “When Harry Met Sally…” soundtrack.
The balance between quick piano chops, big band arrangements and high-standard vocals from Connick Jr. and friends make one’s listening experience feel like they’re in their own film — and if anyone should be able to have a special soundtrack to their outdoor recreations, it should be the people of Boston. At just about 38 minutes long, the soundtrack is the length of a lunch break walk along the Charles River or a morning jog through Boston Common.
Decades after Connick Jr. took home the Grammy for Best Jazz Male Vocal Performance for this project, the win wasn’t earned only because it made the Meg Ryan and Billy Crystal 1989 cinematic masterpiece even more perfect than it already was. The award was well-deserved for its romantic timelessness and the fact that the song selections were made exclusively for main characters: Harry, Sally and Bostonians in the fall season alike.
There are so many refreshing callouts to the magnetic ecstasy of jazz on the soundtrack, placing confidence in the fact that legends like Charlie Parker, Dizzy Gillespie and Duke Ellington would be pleased.
Living in Boston myself, I know there’s absolutely nothing like an Ella Fitzgerald tune on a rainy walk down Commonwealth Avenue or a Nina Simone selection as the sun sets in the South End. But Connick Jr. has proven with this soundtrack that it can and will thrive in the same settings, just like fellow greats in his genre of expertise, and it’s quite impressive.
What I like most about this project is that it sounds like a story, which effectively optimizes the quality of the film.
Typically, a soundtrack will feature songs that are expected to define particular moments in a film, rather than serve as a complement to the entirety of the story taking place on the big screen. In this way, they can lack the maximum opportunity to utilize the magic of storytelling solely through music.
But Connick Jr.’s arrangements told a decadent story in every direction imaginable.
And this story didn’t just include Harry and Sally — East Coast natives experiencing the gift and colors of the fall season can find a connection as well (“Autumn in New York”), even decades after its release.
Before propelling the listener to strut along to a tune of deep appreciation for a lover’s presence after a long wait, opening track “It Had to be You” gives life to the best time of year in Boston after a blazing summer. It’s easily an archetypal songbook classic for jazz superstars at any respective level, but Connick Jr.’s rendition is a powerful first track.
The trio instrumental version is even more of a delight, so its placement toward the end of the soundtrack fulfills a sweet purpose. Connick Jr. was a genius in his chronological organization of the collection as it all added definition to the framework of a different story, while still flawlessly connecting to the bigger picture, season and theme: (fall)ing in love.
Transitioning into one of the loveliest songs to ever exist, the multigenerational anthem of colossal romance “Love is Here To Stay” suits a walk down Beacon Street just past sunset, when the residential area is quiet and the only immediate sounds you hear are the crinkled leaves you step on, with the city making its own music in the background.
When it comes to holding hands with your partner for warmth in the season’s colder temperatures, it’s a fan favorite that will warm your heart too. The song’s references to nature (“In time the Rockies may crumble, Gibraltar may tumble”) in efforts to detail an everlasting love are absolutely monumental in the context of Harry and Sally. And although the enchantment of fall is rather short in the Boston area, we can pretend like the best season is here to stay.
On the East Coast, it’s the unspoken rule of the region to not stand in someone else’s way. In Boston, to stand in the way of others and not have a care in the world about it is treated as a crime by the natives.
So, sincere apologies to those who find that out the hard way, but “Stompin’ at the Savoy” prevents listeners from provoking fellow Bostonians and gets them moving. A bike ride down Massachusetts Avenue in the Berklee College of Music area is a fantastic way to enjoy this song for the pace it provides. By being in close proximity to the college’s distinct proprietary buildings, you’d be able to catch some of the contagious rhythm and talent that Berklee students exude.
Without any lyrics, the strings, keys and drums blend in a special way that doesn’t seem to happen again on the soundtrack, showcasing harmonious musical chemistry at an all-time high here.
Connick Jr.’s instrumental version of “Winter Wonderland” doesn’t exactly reflect the season, but it’s a happy tune you can press play on as you step out of any given town-renowned J.P. Licks location, because your heart is content and so are your tastebuds. Ice cream, Christmas music and a Boston autumn are things that make life worth living. We all should act accordingly.
Including jazz standard “Don’t Get Around Much Anymore” on the soundtrack was an excellent move for Connick Jr. in his storytelling efforts, as it gave vibrancy to a significant part of the film. Harry and Sally arguably got around the best they could, but decided to prioritize pouring into their growing extraordinary friendship with numerous dinner outings, shopping trips and late-night phone calls instead. But I suppose that’s how you “get around” and fall in love.
In Boston, it’s not difficult to get around with so much to do, so many people to meet through various avenues and so many places to explore! Connick Jr.’s musical arrangements to light the way just make it all the more fun.
“I Could Write a Book” competes with “It Had to Be You” and “Love is Here to Stay” for the best love song on the soundtrack, but it holds sugary supremacy.
For some, fall means “cuffing season.” For others, this season means “feral girl fall.” But if you’re in love, your heart will instantly sing this song about the person who gives you the greatest happiness and the brightest glow.
Boston pride is real, and if natives could write a book about this city and how memorable it is to experience the fall here, they absolutely would.
Louis Armstrong and Fitzgerald beam in heavenly pride over Connick Jr.’s honest presentation of “Let’s Call the Whole Thing Off.” One must absolutely possess flair and personality in spades (much like everyone in Boston) to perform this hit to its fullest. Connick Jr. understood the assignment and for that, I believe it’s the strongest moment of the soundtrack.
The unique call-and-response exchange between Connick Jr. and his big band in the song’s final moments just makes room for it to have the grand spotlight it deserves. His scat-like adlibs and affectionate name-calling at the very end just give us extra sweetness, like a perfect cannoli from Bova’s.
“Where or When” and “But Not for Me” have more solemn undertones, making them appropriate for a late-night jog after an unnecessary Celtics loss or seeing the disappointing Dunkin’ selection after work.
33 years later, Connick Jr.’s interpretation of the quintessential friends-to-lovers trope through a jazz focal point still fits, just like Harry and Sally. It has the sensation of love, the shape of magic — and that reminds me of Boston in the fall.